Jazz for aficionados

Rok, this is just like old times; Leon would enjoy this: me, him, and his brother on one side of Missouri Ave, and the Gatlin brothers on the other side, daring each other to cross.

Rok, that's a very good question, and I think it got lost after the beat, or was that before the beat.


Enjoy the music.

Re Thomas (again): with all due respect, you're grabbing at straws. I like Thomas and I have said so. I wonder how HE would have felt knowing that his yodeling was the only thing there was to like about his singing; according to O-10 of course. This is a ridiculous discussion.

Frogman, this is the most ridiculous statement you have made up until this date.

What happened to the complete, detailed, in-depth, comprehensive, time no object, thorough, and exhaustive  review of the music of Horace Silver? 

Just asking.

Cheers

Frogman, I have quite a few of his albums, or albums where he played,from different decades, man can play, no doubt. Like I said, its 'my thing', not something that I can disaprove about his music. Clip is from his 'Soul Experiment' album from 1969.

https://youtu.be/kLAWWv60b24

But, we can come to that later, as I see that you are in middle of conversation with Orpehus

Frogman, by the way, the information on "Blue Mitchell"  was from "Wiki", am I Kosure according to your protocol?  Now that I've revealed it, or is there some other process I have to go through?

Frogman, almost this entire post came from "Wiki", does that make you feel better or meet your criteria?

03-29-2016 12:38am


Calling all aficionados: I'm trying to get organized on this "New music hunt". This time, we go through a musician phase by phase, evaluating each change as we go. Hopefully I have Donald Byrd in order so that we can go year by year, happy listening.
   
Donald Byrd: Low Life
From Fuego (Blue Note, 1959)

I could have started with a song far earlier in Byrd’s career but my point here is to establish his bop/post-bop certifiers with a spry, swinging tune that reminds me of Bobby Timmons best work.

Donald Byrd: Cristo Redentor
From A New Perspective (Blue Note, 1963)

Byrd + gospel choir = sublime. And cinematic, no? Couldn’t you imagine this in some spaghetti western where our hero walks atop a sand dune, the sun setting at his back? Have I been watching too many Leone films?

Also: best cover ever.

Donald Byrd: House of the Rising Sun
From Up With Donald Byrd (Verve, 1964)

The best known song off this album is probably the cover of Herbie Hancock’s “Cantaloupe Island” but thanks to US3, I can’t really bear to listen to it much. I do like this cover of “House of the Rising Sun” though. No only does it draw from the same choral backing that we heard on A New Perspective but you can begin to hear the hints of the coming soul-jazz movement. It’s the small, subtle things in the rhythm that you’ll hear even more so on…

Donald Byrd: Blackjack
From Blackjack (Blue Note, 1967)

And here we are. It’s not upside your dome funky but clearly, it’s working in that vein, especially with the hard hammer of Cedar Walton’s piano. But heck, let’s take it a step further and let the drummer get some.

Donald Byrd: Weasil
From Fancy Free (Blue Note, 1969)

The first thing that strikes you is that Duke Pearson is tickling the Rhodes on here, apparently the first time Byrd allowed an electric piano to roll in. Combine that with the more aggressive breakbeats by drummer Joe Chambers and “Weasil” belongs firmly in the soul-jazz era that’s since been enshrined through comps like Blue Break Beats and Jazz Dance Classics.

Donald Byrd: The Little Rasti
From Ethiopian Knights (Blue Note, 1972)

To me, Ethiopian Knights represents the deepest Byrd got into this era of the soul-jazz sound before moving more towards proto-disco fusion style. Nearly 18 minutes long, nothing “little” about this.

Donald Byrd: Where Are We Going?
From Black Byrd (Blue Note, 1972)

With this album, Byrd minted a smash and established himself as one of the masterminds of a sound that blended jazz, soul, funk and disco. Black Byrd was, in many ways, a total blueprint for the next five years, not just of Byrd’s career, but the direction of jazz and R&B as a whole. For me, I definitely hear some What’s Going On? elements at play but the sheer smoothness of the track also hints at what you’d hear with yacht rock by the late 1970s. It’s all right here.

By the way, I’m going to skip over Street Lady even though it was an important/successful album, yada yada. The only thing I want to say is that the title track is an interesting “throwback” to Byrd’s sound from about five years before. It’s like a retro-hard-bop tune.

Donald Byrd: Wind Parade
From Places and Spaces (Blue Note, 1975)

The Mizell brothers era of Byrd’s career is perhaps his best known to most hip-hop fans given the sheer number of samples that emerged from it. Anyone up on my site should already have “Wind Parade” in heavy rotation but this is one case where I can’t not include it in here. Any song that helps power one of the greatest remixes in hip-hop history deserves that much.

The Blackbyrds: Mysterious Vibes
From Action (Fantasy, 1977)

At some point in the early 1970s Byrd landed a production deal with Fantasy Records and from that, he assembled a group of former Howard University students and they became the Blackbyrds. By the mid 1970s, though Byrd was still recording on his own, he was arguably experiencing more success in producing other groups, especially the Blackbyrds who had a string of hits I’m sure all of you are familiar. “Rock Creek Park” remains a constant staple for any good disco set but I threw in “Mysterious Vibes” here because 1) I like the name and 2) it’s groovy.

The 3 Pieces: Shortnin’ Bread
From Vibes of Truth (Fantasy, 1975)

The 3 Pieces were a short-lived group from the D.C. area that Byrd also produced, albeit not to anywhere near the same success as the Blackbyrds. Pity since the album yielded at least two strong cuts: the jazz dance track above as well as the more mid-tempo crossover track, “Backed Up Against the Wall.”

The Blackbyrds: Wilford’s Gone
From Cornbread, Earl and Me (Fantasy, 1975)

This seems as good a place to close out: the dark, moody, melancholy groove of “Wilford’s Gone” from the soundtrack of Cornbread, Earl and Me. Yet another gem shaped by the hand of Donald Byrd.


Enjoy the music.

   

This whole "bruha" started because I stated "Before the beat or after the beat; what difference does it make, and you have never pointed how Blakey is either; you simply stated you didn't like his lazy sloppy playing.

I take it you are referring to the "Jazz Messengers" when you mentioned Wiki. Is that your way of dodging "Before or after the beat" in regard to Art Blakey's "sloppy drumming"?

Frogman, if you like Leon Thomas, what songs or albums do you like by him?

Alex, classic, and imo one of the very greatest trumpet solos on record:

https://m.youtube.com/watch?v=RbaGDDbpcQ4

Acman, I share your opinion. Aldo, imho, we skipp some very nice albums where Donald Byrd played, maybe later I could point to some.
I have same feeling when it comes to FH, somehow I can  name more albums where I liked Mitchell's playing, or Byrds as well, than the ones with Hubbard. On the other hand, I prefer Dizzy over him, when it comes to some other types of recordings. Strange as it seems, I never cought up completely with his work. Maybe we shall come to that, here, later...

O-10, we'll simply have to agree to disagree re Mitchell.  As much a I lile Byrd,  I like Mitchell more than Byrd.  You like Byrd; I'm cool with that.  Now, as far as your "yardsticks" are concerned, it would be helpful if you would tell us and explain what musical yardsticks you are using and how they each apply to the two players in question; that would bring some relevance to this discussion.  

Re Thomas (again): with all due respect, you're grabbing at straws.  I like Thomas and I have said so.  I wonder how HE would have felt knowing that his yodeling was the only thing there was to like about his singing; according to O-10 of course.  This is a ridiculous discussion.

Now, O-10, this is your thread and I know you want to maintain high levels of integrity here.  This is just a gentle suggestion.  It is in good form, when quoting someone else's writings (Wiki or others), to make it clear that they are someone else's words.  

Blue Mitchell was a very good trumpet player; but his record pales in comparison to Donald Byrd.


Mitchell was born and raised in Miami, Florida. He began playing trumpet in high school, where he acquired his nickname, Blue.

After high school he played in the rhythm and blues ensembles of Paul Williams, Earl Bostic, and Chuck Willis. After returning to Miami he was noticed by Cannonball Adderley, with whom he recorded for Riverside Records in New York in 1958.

He then joined the Horace Silver Quintet, playing with tenor saxophonist Junior Cook, bassist Gene Taylor and drummer Roy Brooks. Mitchell stayed with Silver's group until the band's break-up in 1964, after which he formed a group with members from the Silver quintet, substituting the young pianist Chick Corea for Silver and replacing Brooks, who had fallen ill, with drummer Al Foster. This group produced a number of records for Blue Note. It disbanded in 1969, after which Mitchell joined and toured with Ray Charles until 1971.

From 1971 to 1973 Mitchell performed with John Mayall, appearing on Jazz Blues Fusion and subsequent albums. From the mid-70s he recorded and worked as a session man in the genres noted previously, performed with the big band leaders Louie Bellson, Bill Holman and Bill Berry and was principal soloist for Tony Bennett and Lena Horne. Other band leaders Mitchell recorded with include Lou Donaldson, Grant Green, Philly Joe Jones, Jackie McLean, Hank Mobley, Johnny Griffin, Al Cohn, Dexter Gordon and Jimmy Smith. Blue Mitchell kept his hard-bop playing going with the Harold Land quintet up until his death from cancer on May 21, 1979, in Los Angeles, at the age of 49.

A lot of alto sax players are very good, until you compare them with Charles "yardbird" Parker; you get my drift.





Enjoy the music.

If you say you don't like Leon Thomas's yodeling for just over a minute, when yodeling is his signature thing; that would mean that you just don't like Leon Thomas; and that most certainly would come under the "subjective" heading, but to say you like Leon Thomas, but not his minutes worth of yodeling sounds insincere. Since you want you're statement to come under the "subjective" heading, just say you don't like Leon Thomas.


Enjoy the music.

Frogman;

Let me repeat, "I still appreciate your musical wisdom, for those like Rok, and Acman who benefit from it".

That was my post on 04-02-2016 7:11pm.

This was Rok's post immediately following that post.
 
We all know that you do not want to know anything about anything. What we don't know is why you are so ADAMANT about telling us this at every opportunity.

We get it.

This was after my comment about Art Blakey; "Before or after the beat".

And you're still talking about Blakey's "Lazy sloppy drumming"


I think this will end after the swallows come back to Capistrano, or the cows come home; whichever is first.




Enjoy the music.

The reason that tune by Silver and Harris is almost unknown, is because it in no ways compares with their best works.

There are many yardsticks by which a jazz musician is judged and Blue Mitchell doesn't measure up to Donald Byrd, in that solo, or in body of works.

The Jazz Messengers were an influential jazz combo that existed for over thirty-five years beginning in the early 1950s as a collective, and ending when long-time leader and founding drummer Art Blakey died in 1990. Blakey led or co-led the group from the outset. "Art Blakey" and "Jazz Messengers" became synonymous over the years, though Blakey did lead non-Messenger recording sessions and played as a sideman for other groups throughout his career.

The group evolved into a proving ground for young jazz talent. While veterans occasionally re-appeared in the group, by and large, each iteration of the Messengers included a lineup of new young players. Having the Messengers on one's resume was a rite of passage in the jazz world, and conveyed immediate bona fide.

How could the "Jazz Messengers" accomplish this if Art Blakey was such a sloppy lazy drummer? And you still haven't explained how Leon Thomas's just over a minute of yodeling was to the point of distraction.



Enjoy the music.

Here I was, thinking that over the last two days you were compiling a comprehensive list of albums and clips by Horace Silver; little did I know that you were ruminating over my comments 😊. O-10, I appreciate you striving for clarity and, more importantly, striving to be "a more astute listener". I think that there’s still work to be done. My thoughts why:

****especially since you and Rok said I don’t want to learn anything, and you’re the master musician. ****

No, O-10, we didn’t say that, YOU have said that; and you remind us every chance you get. And, no, I don’t consider myself a master musician, not even close; I will leave that designation to the likes of....well, I’ll leave it at that.

****I’m still trying to pick up Art Blakey’s sloppy drumming that makes the messengers version of "Nica’s Dream" sound sleepy. ****

I never said his playing was sloppy (on this cut); only that, imo, Blakey’s version was too slow. My commment:

****Blakey’s version sounds sleepy by comparison and lacking energy. ****

Your comment:

****but Blakey’s was "languid" meaning slow and relaxed; this was due to the slower pace, ****
-----------------
From Miriam-Webster dictionary:

"languid":
1
: drooping or flagging from or as if from exhaustion : weak
2
: sluggish in character or disposition : listless
3
: lacking force or quickness of movement : slow
------------------
So, where’s the problem; where’s the disagreement?

Re Thomas:

"Yodeling" for over a minute?! Way too much for me. Why does someone who puts so much stock in "subjectivism" have an issue with my "subjective" opinion on this?

Re Mitchell:

**** I also think you stated that Blue Mitchell’s solo sounded better than Donald Byrd’s solo in the same spot. As good as Blue Mitchell is, he’s no Donald Byrd, and that’s not a subjective evaluation, it comes under objective evaluation, as almost any jazz aficionado will tell you.****

I didn’t say any such thing. I wasn’t comparing the two trumpet players; I compared, AS YOU ASKED US ALL TO DO, AND "DECIDE FOR YOU", which version was better. I said, that Mitchell’s solo alone made Silver’s version better for me. Now, please, pray tell, tell us where it is written that "almost any" aficionado thinks that Byrd was the better trumpet player; this aficinado certainly doesn’t. First of all, he’s not; and, moreover, does this not also fall under the heading of "subjectivism"? Just as a possibly interesting aside: one of the more curious little factoids about Mitchell’s career is that he looked (physically) so much like Freddie Hubbard and played so much at a similarly high level that he was sometimes confused for Freddie; someone who, I hope, we can agree was at the very highest level in the hierarchy of great trumpet players and a level where neither Mitchell (and certainly Byrd) were not quite at.

Got any Silver? Or, thoughts on Silver/Harris 😄
,

Frogman,  you consider the version headed by Silver better than the "Jazz Messenger's"" on "Nica's Dream"? I'm still trying to pick up Art Blakey's sloppy drumming that makes the messengers version of "Nica's Dream" sound sleepy. Maybe you could give me the time where I should listen.

No "silly bickering" I'm just trying to be a more astute listener; especially since you and Rok said I don't want to learn anything, and you're the master musician. Now on Leon Thomas's yodeling, a bit much this time, he took it to the point of distraction, you stated. I listened to it a second time and he began his signature yodeling at 1:30 and carries it to 2:38; now that's just over a minute, when the song is 5:21 long, and according to you, just over a minute is to the point of distraction.

I know how much you appreciate clarity in communications, and that's what I'm striving for. I also think you stated that Blue Mitchell's solo sounded better than Donald Byrd's solo in the same spot. As good as Blue Mitchell is, he's no Donald Byrd, and that's not a subjective evaluation, it comes under objective evaluation, as almost any jazz aficionado will tell you.




Enjoy the music.

acman3-

I ran across the pianist on youtube- she has a few CD releases.
I am very surprised that I cannot find her titles on Amazon nor eBay?

Nothing kinda vague here. One of my favorite Silver records, but strangely obscure and unknown. Horace Silver/ Eddie Harris; a match made in heaven (Ralph Moore is not too shabby either):

https://m.youtube.com/watch?v=XTdCMqHbwbM

https://m.youtube.com/watch?v=LWaOV2U5vyc

Don’t know what to think of this pianist; need to hear more. Very strange YouTube clip, however. I listened to it and I heard what were clearly two (not so subtle) edits at 1:35 and 3:07 and heard what I thought was her quoting "I Remember You". It wasn’t untiI I saw the credits at the end that it became clear that this clip was excerpts from thre different tunes (including "IRY"); but way too close together. Keith Jarrett overtones in her playing and while this is not meant as a dig AT ALL, what little I heard makes me feel that in many ways she is the "anti-Horace Silver": cerebral, dreamy, non-percussive and rhythmically kinda vague. Please report back when you find the CD.

Jafant, type in the label, Toniq Records, and it will take you to a page in Japanese, which looks like they are selling the CD you are looking for.  That's all I can find.

Where did you hear of Ms. Kohashi? Do you have any other music of her's?

All

I am looking for this CD;

Atzko Kohashi -  Dualtone


anyone have a copy or know where I can buy it?

There are so many excellent versions of Nica's Dream!
I love them all.

O-10, I like and appreciate clarity in communication; I think the lack of it has led to a lot of silly bickering here.  For that reason, these and any other related comments/questions are in that spirit and an attempt to avoid miscommunication going forward; nothing more.  Having said that, and so that I can be more clear and concise in the future, what exactly about my comment caused you think that I thought that

****we have covered everything there is of significance about Horace Silver****?

  On the other side of the coin (so to speak), while I am well aware that the "yodeling" is a "signature thing", I wrote:

****; a bit much this time****

Iow, I don't particularly dislike it, just think he took it too far in that performance; to the point of distraction.

***** I interpreted your statement as meaning we have covered all there is of significance by Horace Silver.*****

Surely you jest!!   You have not even reached  Dee Dee Bridgewater yet.  No Filthy McNasty?   'The Cape Verdean Blues' has some nice playing / tunes on it also.   The list goes on.

Hang in there.  You got work to do.

Cheers

Frogman, the yodeling is a Leon Thomas signature thing. The only other yodeling I ever recall before him was that cowboy thing, and there certainly isn't any semblance between the two. Although I recall Rok making the same comment, I like it.

When he sounds like Joe Williams, which is how he sounded when he started with Count Basie, is what I like the least; it's too commercial for my taste.

In the comments section, most of the people stated they liked the yodeling. Someone said he was inspired by African Pigmies, but I don't know anything about that. Someone else said it was an acquired taste thing, but I liked it the first time I heard it; it definitely sets him apart from the crowd, and I think he should have focused on what set him apart from the crowd as opposed to just singing.

Since "Nica's Dream" is my favorite tune by Horace Silver, I liked both versions a lot, but the messengers with Donald Byrd and Hank Mobley was definitely my favorite.

I interpreted your statement as meaning we have covered all there is of significance by Horace Silver. Feel free to take us in any direction you choose.


Enjoy the music.

I asked the question because on the clip you posted Silver solos (what I thought you meant by "expand") for about three minutes and on the clip from Newport he solos for about six minutes.  He also plays much more percussively (like a drummer) on the Newport; not a better or worse thing, just different.  The distortion doesn't bother me in the least; the music comes through loud and clear.

****The interesting fact is, the composer was on both versions; he just decided to play slower with the "Jazz Messengers".****

i doubt that the tempo on Blakey's version was Silver's call since he was a sideman on that date and I have not heard any version of that tune with Silver as the leader that is anywhere near as slow.  I don't think the tune works as well at the slower tempo, and"languid" is a good characterization of Blakey's drumming on that cut.   As I have said before his drumming strikes me lazy sometimes.

****", I didn't know we were through with Mr. Silver****

Wasnt suggesting we were, nor that you were the only one giving Señor Blues attention.  Just surprised the tune hadn't been mentioned by anyone.  No direct reference to you.

Leon Thomas sounds great singing the tune until he starts the yodeling thing; a bit much this time.  Thanks for the clip.

In regard to "Senor Blues", when I said *he expands this tune on this date, like nowhere else,****; I was referring to his piano solo beginning at 4:10, and going all the way to the end, when he was backing Blue Mitchell. The one at Newport wasn't as clear, there was noticeable distortion.

On the "Senor Blues" I pasted, I liked Junior Cook's and Blue Mitchell's solo's much better; as well as Mr. Silver's piano where he got into a special groove beginning at 4:10, all the way to the end where he was backing Blue Mitchell. Notice at 9:11 where he digs in and hammers the piano like a drummer.

Before, I couldn't decide, but now I've decided, and I definitely like the "Nica's Dream"  on the "Jazz Messengers" better. Silver was on piano, on both LP's; but Blakey's was "languid" meaning slow and relaxed; this was due to the slower pace, and I most certainly liked Donald Byrd's and Hank Mobley's solos better on that "Nica's Dream".

The interesting fact is, the composer was on both versions; he just decided to play slower with the "Jazz Messengers".

In regard to "Song For My Father", I didn't know we were through with Mr. Silver; especially after the detail and depth I covered "Donald Byrd," but you won't get any argument out of me, about "Song For My Father" being his best, I'm especially attached to that tune.

After Leon Thomas's Father's funeral, he sang that at a club, and it brought tears to my eyes because I knew his father, and I could see his smiling face.



                https://www.youtube.com/watch?v=hSYwGEiowHg



Enjoy the music.



     

****Since I couldn't decide which one of these I liked best, I pasted both of them, and now you can decide for me.****

Silver's own version of Nica's Dream is my favorite of the two; by a long shot!  Blakey's version is too slow.  There is no law that says that a tune can't work played at a tempo different from the one the composer intended, but this is a case when the composer's tempo is so clearly the better one that it makes Blakey's version sound sleepy by comparison and lacking energy. Then, there's Blue Mitchell's solo on Silver's version; that alone makes it the better one for me.

****he expands this tune on this date, like nowhere else,****

Curious about this comment.  What do you mean by "expands".

Senor Blues and other Silver tunes have gotten a lot of attention and deservedly so; but, there's been no mention of what is probably his most recognized tune and, arguably, his best record:

https://m.youtube.com/watch?v=boVaez6rVNA

The composer talks about his tune:

https://m.youtube.com/watch?v=NFjmWI-d6d4

Horace Taveres Silver had so many great compositions that some of them got little exposure; "The Outlaw" on the LP "Further Explorations" is almost unknown;


                    https://www.youtube.com/watch?v=mx4h_IXm5Pc


This was so vivid that you could visualize "Billy the Kid" riding hard across the South western Bad lands, just two steps in front of the posse that was in hot pursuit.

My favorite version of "Senor Blues" is a live one also. Here it is; he expands this tune on this date, like nowhere else, and I could listen to it all night.


              https://www.youtube.com/watch?v=t8jFGFwOm7k


This tune is my favorite by Silver; it was written in honor of Pannonica de Koenigswarter, who was a patron of many jazz artists at that time. She had more tunes written in her honor than anyone else I can think of.


                https://www.youtube.com/watch?v=KDrxzKYdwsA


              https://www.youtube.com/watch?v=8Lju13U1zEE


Since I couldn't decide which one of these I liked best, I pasted both of them, and now you can decide for me.





Enjoy the music.





                 

rok,

The first time I heard Bitches Brew I was about 19 and still living at home.  I had a high end system even then.  Pioneer speakers, Radio Shack amplifier and an AR turntable. 

I put the record on, was suitably stunned.  I left before the first cut was finished and went to Radio Shack to buy a set of headphones.  I was basically "gone" for a couple of days.

Thanks for the memory.

Bob

Sorry, forgot to post the clip.

Herbie Hancock -- BUTTERFLY
https://www.youtube.com/watch?v=ALJgkdPWqxg

Cheers

Herbie Hancock's BUTTERFLY:

A host of 'young lions'.  I enjoyed it.   Hancock saved the set.   Why he felt the need to involve that electronic gizmo is beyond me.  It didn't add anything.   The guy is brilliant on piano.

I was about to post Marcus Miller yesterday until I realize he played Bass guitar.  Still find it hard to get used to those in Jazz.  Still have not recovered from hearing 'Bitches Brew" for the first time.

I see they had Lynn Carrington on drums..  It's good to see her get work.  Another shooting star.

Nice Clip.

Thanks

Dave Holland:

Not that much into Bass players, but I do have a few with Holland as co-leader and sideman.  He has appeared on some big time recordings.   I am sure he is on more stuff I own.  I like them all, except 'Bitches Brew', of course.

Hank Jones / Dave Holland / Billy Higgins -- THE ORACLE
https://www.youtube.com/watch?v=SC7eqvznA8o  

Kenny Barron & Dave Holland -- THE ART OF CONVERSATION
https://www.youtube.com/watch?v=t3JJdIBDCo0&list=RDt3JJdIBDCo0 
And this is really a conversation!!  Highly recommended.

He appears on Miles' Bitches Brew
https://www.youtube.com/watch?v=SbCt-iXIXlQ  

also on

Joe Henderson's  So Near So Far
https://www.youtube.com/watch?v=b6nlf32EAuM&list=PL6XPOs3AHiJ-Md8kSqTfyj_jsCbmwV8_v

Cheers

Anybody ever listen to the M.O.B. Trio?  I can't find anything on YouTube but here is a link to some samples.  I've got a couple of their cds and like them very much.  A bit out there, but very accessible.

http://www.allmusic.com/album/loose-mw0000620315

Bob

Man, I love this thread!

Rok, Herbie Hancock's Butterfly---  First heard this tune live at the Paramount Theater in Seattle.  I was completely knocked out.  I'd never heard anything so wonderful and to this day it is one of my favorite songs.  Check out Gretchen Parlato (spelling?) version.  Nice. 

What I remember most about that concert was Bill Summers' solo on the chekere.  Never heard of or seen the instrument.  Killer.

All the recent names; Arthur Blythe (great player, unique sound), Horace Silver, James Carter; you guys seem to be intimately familiar with the holy grail of jazz greats. 

Thank you.

Anybody here like Dave Holland? 

bob

All his playing has that quality, but I would say that this is an even better example:

https://m.youtube.com/watch?v=dUAu_3R0VPI

*****First of all, it was all about the rhythm with Silver and he often played percussively (like a drummer) *****

Would this be  a good example of playing like a drummer?

https://www.youtube.com/watch?v=SmO2pM20MrU&ebc=ANyPxKqDoThFhgXFewH86jUyuHYMAgrpGA18ilQaZsfTJEq3...

Cheers

It could be argued that Horace Silver did not have the blazing technique of some other pianists; but, in his case, this was irrelevant.  He was, without a doubt, one of the most individualistic pianists and was very respected by other musicians.  In jazz, as we know, it's all about whether the player is "sayin something" in his playing; Silver always said a lot and his ranking among his peers is right at the top.  His playing was more obviously rooted in the blues than most and one could say that he played the piano with a drummer's perspective.  First of all, it was all about the rhythm with Silver and he often played percussively (like a drummer)  and if you listen closely you will notice much use of "call and response" between his left hand and right hand; the left hand, unlike with many other players, is given as much attention as the right hand.  Call and respinse, as we know, is a hallmark of the blues.  Great player, great composer!

The earliest Silver I could find. (1953)  Sadly, I don't have this one.

Horace Silver Trio & Art Blakey + Sabu
https://www.youtube.com/watch?v=N8Nbw2h3KXk


The earliest Silver I have (1954):

Horace Silver -- HORACE SILVER AND THE JAZZ MESSENGERS
https://www.youtube.com/watch?v=tu4o65SwUIw

He wrote some great tunes.  How did he stand among his peers as a player?

Cheers

"segue":  to transition smoothly from one topic to another.  In music:  to proceed without pause from one theme to another.  

In the "Groves Dictionary Of Music" one can find "segue" right  before "Señor Blues" which can be found right before Silver (Horace).  Nicely done, Rok 😊

O-10, you're up!

Nice clip, btw.

I like to look at,  errrr I mean, I like to listen listen to this CD from time to time.  Fantastic tune lineup.   JALC should do something like this.

https://www.youtube.com/watch?v=wSqHZy3JbH4

Nice solo by Michael Brecker.

Cheers

Arthur Blythe, without a doubt one of the most unique alto sounds with that fast vibrato.  He was one of the first pre-"young lions".   Caused quite a stir when he came on the scene and I lost track of him and his work.  Interesting player.  I like him in limited doses. 

"Hackensack": one of my very favorite clips on all of YouTube.  I posted this here twice before; must have slipped through the cracks.  Two fabulous tenor players who could hardly be more different stylistically.  The other clip from the same performance:

https://m.youtube.com/watch?v=8egSzCBCie0

Wanted to post the last Jazz album I purchased on LP.  It was back in the early 80's in El Paso, Texas.  Could not find Arthur Blythe's 'elaboration', but did find this.   Love it.

https://www.youtube.com/watch?v=V027YTD1qOg 

you-tube continued to run and this came up.

https://www.youtube.com/watch?v=nuIos1mRwyo 

Cheers

****"Funkettes"***

Nah, I made that up 🙃.  Re their dancing:  it brings up an interesting point.  The video and audio tracks are not in sync (technical problem) so no matter what, the dancing won't look as tight as it would if the tracks were in sync; even if they were great dancers.  They're probably pretty good dancers but not exactly funky "street" dancers like you might see in a hip-hop video.  James and the band move so well to that kind of music that if things are off a little bit it still looks pretty good (although not quite as good as it would otherwise).  The "Funkettes" don't move as well to that kind of music to begin with, so there's no "margin of error" to the viewer's eye, so they look obviously off the beat of the music.

You are correct, it's obvious the band is not playing, but I thought they would be dancing to the music, even if recorded.   Now if I could just erase Carl.

Cheers

The "Funkettes"?   Is that what they are called for real?  ahahahah

The Frogman is just wealth of information.  I guess if you live in the Big Apple, you just know these things..

Thanks

Cheers

****....kill it, as usual**** 

In the good sense; of course.